LIBRARY | ae 
M. KNOEDLER & CO. 
556-8 FIFTH AVE. 
NEW YORK 


ON FREE VIEW 
From 9 A. M. untiL 6 P. M. 


BEGINNING WEDNESDAY, NOVEMBER 5, 1913 
CONTINUING UNTIL DATE OF SALE 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 


THE 


W.E. L. DILLAWAY 
COLLECTION OF 
ETCHINGS AND DRY-POINTS 


BY 
SIR FRANCIS SEYMOUR HADEN 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


ON MONDAY EVENING, NOVEMBER 10, 1913 


AT 8.30 O’CLOCK 


CATALOGUE 
OF 
AN ALMOST COMPLETE COLLECTION 


OF THE 


Etchings and Dry-points 


OF THE GREATEST ENGLISH MASTER 
OF LANDSCAPE ETCHERS 


SIR FRANCIS SEYMOUR HADEN 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
AT THE AMERICAN ART GALLERIES 
ON THE DATE HEREIN STATED 


CATALOGUE COMPILED BY 


CARL ZIGROSSER 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY, or Tue 
AMERICAN ART ASSOCIATION, Manacers 
NEW YORK 
19138 


CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance 
may be rejected by the auctioneer if, in his judgment, such bid 
would be likely to affect the sale injuriously. 

2. The highest bidder shall be the buyer, and if any dispute 
arise between two or more bidders, the auctioneer shall either 
decide the same or put up for re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the purchase 
money as may be required, and the names and addresses of the 
purchasers shall be given immediately on the sale of every lot, in 
default of which the lot so purchased shall be immediately put 
up again and re-sold. 

Payment of that part of the purchase money not made at the 
time of sale shall be made within ten days thereafter, in default 
of which the undersigned may either continue to hold the lots at 
the risk of the purchaser and take such action as may be neces- 
sary for the enforcement of the sale, or may at public or private 
sale, and without other than this notice, re-sell the lots for the 
benefit of such purchaser, and the deficiency (if any) arising from 
such re-sale shall be a charge against such purchaser. 

4, Delivery of any purchase will be made only upon pay- 
ment of the total amount due for all purchases at the sale. 

Delivery will not be made of any purchase during the session 
of the sale at which it was sold. 

Delivery will not be made of any purchase at any time other 
than between the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American 
Art Galleries, or other place of sale, as the case may be, and 
only on presenting the bill of purchase. 

5. Shipping, boxing or wrapping of purchases is a business 
in which the Association is in no wise engaged, and will not be 
performed by the Association for purchasers. The Association 
will, however, afford to purchasers every facility for employing 
at current and reasonable rates carriers and packers; doing so, 
however, without any assumption of responsibility on its part 
for the acts and charges of the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the 
purchaser. ‘Title passes upon the fall of the auctioneer’s hammer, 
and thereafter, while the Association will exercise due caution 
in caring for and delivering such purchase, it will not hold itself 
responsible if such purchase be lost, stolen, damaged or destroyed. 


Storage charges will be made upon all purchases not re- 
moved within ten days from the date of the sale thereof. 

7. Guarantee is not made either by the owner or the Asso- 
ciation of the correctness of the description, genuineness or 
authenticity of any lot, and no sale will be set aside on account 
of any incorrectness, error of cataloguing, or any imperfection 
not noted. Every lot is on public exhibition one or more days 
prior to its sale, after which it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot 
correctly, and will give consideration to the opinion of any trust- 
worthy expert to the effect that any lot has been incorrectly 
catalogued, and, in its judgment, may either sell the lot as cata- 
logued or make mention of the opinion of such expert, who 
thereby would become responsible for such damage as might 
result were his opinion without proper foundation. 


SPECIAL NOTICE. 


Buying or bidding by the Association for responsible parties 
on orders transmitted to it by mail, telegraph or telephone, will 
be faithfully attended to without charge or commission. Any 
purchase so made will be subject to the above Conditions of Sale, 
which cannot in any manner be modified. The Association, how- 
ever, in the event of making a purchase of a lot consisting of 
one or more books for a purchaser who has not, through himself 
or his agent, been present at the exhibition or sale, will permit 
such lot to be returned within ten days from the date of sale, 
and the purchase money will be returned, if the lot in any ma- 
terial manner differs from its catalogue description. 

Orders for execution by the Association should be written 
and given with such plainness as to leave no room for misunder- 
standing. Not only should the lot number be given, but also the 
title, and bids should be stated to be so much for the lot, and 
when the lot consists of one or more volumes of books or objects 
of art, the bid per volume or piece should also be stated. If the 
one transmitting the order is unknown to the Association, a de- 
posit should be sent or reference submitted. Shipping directions 
should also be given. 

Priced copies of the catalogue of any sale, or any session 
thereof, will be furnished by the Association at a reasonable 


charge. 
AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


PREFATORY NOTE 


It is indeed a rare occurrence that so fine a collection of 
Seymour Haden’s work, as this one of Mr. Dillaway’s, is 
offered to the public, and it is an opportunity which should 
afford a delightful treat to all discriminating print lovers. 
Really fine impressions of Haden’s etchings have constantly 
become more difficult to obtain, and this sale therefore hap- 
pens at a very opportune moment. Mr. Dillaway began his 
collection early, at a time when a comparative plentifulness 
insured a wide latitude of choice, and enabled him to get 
hold of many prints and states which are almost impos- 
sible to obtain nowadays. A sympathetic insight, too, into 
the character and particular beauties of Seymour Haden’s 
etching enabled Mr. Dillaway to maintain a uniformly high 
average in the quality of his impressions. By reason of his 
taste he knew what to choose at a time when there were 
many things to choose from. In this way was assembled 
this collection of the works of Seymour Haden, who, on 
account of his sincere and consistent love of the out-of- 
doors and his marvelous technical mastery, has been hailed 
as the greatest of the English landscape etchers. 


EVENING SALE 
MONDAY, NOVEMBER 10, 1913 


AT THE AMERICAN ART GALLERIES 


Becinnine at 8.30 O’CiocKx 


1—Amatri (Harrington, No. 10; Drake, No. 10) 
Proof on thin Japan paper. Presented to Jules 
Jacquemart, the artist, with the words: ‘“Amalfi— 
Mons. Jacquemart, Seymour Haden,” in the auto- 
graph of the artist. 


2—T Hames FisHERMAN 

Nie 4 | (Harrington, No. 11; Drake, No. 11) 
| Signed artist’s proof. First state, with the trees on 
the right well defined, the central tree in the distance 
replaced by a group of several trees and the signa- 
ture, “On the Thames, F. S. Haden, 1859,” in lower 
left corner of plate. Eighty impressions printed by 

Delatre in brown ink on India paper. 


(Illustrated) 


oo -8—Kensincron Garprens (The Small Plate) 

(Harrington, No. 12; Drake, No. 12) 
Signed artist’s proof on Japan paper. Second state, 
with the name “Seymour Haden” to the lower right 
replaced by “Kensington Gardens,” and added hori- 
zontal shadows in the second path. 


; 4—Myrtron Hatt (Harrington, No. 14; Drake, No. 13) 
“s Signed artist’s proof on Japan paper. 


“Mytton Hall—which, unlike Mr. Hamerton, I prefer 
to the Shere—had been wrought one year earlier. It 
shows a shady avenue of yew trees leading to an old 
manor house which receives the full light of the sun; 
and in that print, early as it may seem, was already 
the breadth of treatment which, as years proceeded, 
became more and more a characteristic of Seymour 
Haden’s work.”—FrepErrick Werpmoreg, Fine Prints, 
p- 103. 


“Mytton Hall is an old Henry the Seventh house 
which I was in the habit of staying at for the purpose 
of salmon fishing in the River Ribble (the Lancashire 
river) which runs past it.”—Srymour Hapen. 


(Illustrated) 


5—EcuHam (Harrington, No. 15; Drake, No. 14) 
Signed artist’s proof on Verger paper. 
“The Egham subject has the silence of the open 


country.”—FREpErIckK Wepmore, Four Masters of 
Etching, p: 7. 


6—Ecuam Lock (Harrington, No. 16; Drake, No. 15) 


Signed artist’s proof on Verger paper. First state, 
with signature, “Egham Lock, Seymour Haden,” 
added to the left, and with overcast sky. 

“Egham and Egham Lock were done on the same day 
and from the same spot—one looking up and the other 
down the River Thames.”—Srymour Hapen. 


(—Svus TrEcmInE 
(Harrington, No. 17; Drake, No. 16) 
Signed artist’s proof on Japan paper. About thirty 
impressions in all were taken from the plate. The 


Myrtron Hatt 


No. 4. 


title, “Greenwich Park,” is in the handwriting of 
Whistler, and the plate was etched on the same day 
as Whistler’s “Greenwich Pensioner,” Wedmore No. 
32. 


8—Ouvr or Stupy Winpow 
(Harrington, No. 18; Drake, No. 17) 
Signed artist’s proof on Verger paper. 


“With the single exception of Whistler, there is not 
another etcher in England who would not have killed 
this sky in trying to finish it.’—P. G. Hamerron, 
Etching and Etchers, p. 300. 

“It is the study of the sky, so powerful in its formal 
handling and so splendid in. its light, that forms the 
main purpose of this plate, one of the most beautiful 
of all his work, one which brings up recollections of 
Rembrandt.”—Puitirrpe Burry, L’Guvre de M., 
Francis Seymour Haden. ; 


9—FuLHAM (Harrington, No. 19; Drake, No. 18) 


Signed artist’s proof on Verger paper. Trial proof 
“A” with three poplars only, and with the words, 
“Fulham on the Thames” near the middle of the lower 
part of the plate. Etched from the grounds of the 
palace of the Bishop of London at Fulham. 


10—FuLHam (Harrington, No. 19; Drake, No. 18) 
Signed artist’s proof on Verger paper. Second state 
with the bridge, which in the preceding impressions 
was of stone, now of wood. 


11—Ow tHe Test (Harrington, No. 20; Drake, No. 19) 
Signed artist’s proof on Japan paper. 


“This dry-point . . . is one of the most remark- 
able of his works; it displays a poetry of haunting 
intensity and indefinable charm; we are astonished that 
it has not attained the reputation of A Sunset in Ire- 
land, Calais Pier, or Shere Mill Pond.—Gustave 
Bourcarp, A T'ravers Cinq Siécles de Gravures, p. 
443. 

“This plate and ‘A Water Meadow’ were done on the 
same day, one at noon, the other very late in the 
evening. Test (in Hampshire) is a famous trout 
stream.”—SrymMour Haven. 


12—A Warer Mrapow 
(Harrington, No. 21; Drake, No. 20) 
Signed artist’s proof on Whatman paper. 


“T like this plate—which is saying a great deal.”— 
Seymour Haven. 


i a vivacious, happy, sympathetic trans- 


eit. of a sudden rainstorm in the Hampshire low- 
lands, where poplars flourish and grass grows rank.” 
Freperick Wepmore, Fine Prints, p. 106. 


13—Earty Mornine: Ricnmonp 
(Harrington, No. 22; Drake, No. 21) 
Signed artist’s proof on Japan paper. First state 
with the foul biting. Very few impressions taken. 


“This was done actually at sunrise. The first state, 
as usual, is by far the best—the cleaning and ‘im- 
provement’ of the plate having done nothing for it.” 
—Sryrmour Hapen. 


14—Earty Mornine: RicnmMonp 
(Harrington, No. 22; Drake, No. 21) 
Signed artist’s proof on Verger paper. Second state 
after the plate was cleaned. : 


“The conception of the plate itself has a poetry of 
its own, and is filled with the freshness of morning.” 
—P. G. Hamerton, Etching and Etchers, p. 307. 


15—Kipwe.iy Town 
(Harrington, No. 24; Drake, No. 22) 
Signed artist’s proof on Verger paper. 


“Above all, he has expressed with indefinable charm, in 
plates like Egham, Egham Lock, Kidwelly, the tran- 
quility of transparent waters in which villages and 
trees are reflected on a hot summer’s day.”—BeERatpI, 
Les Graveurs du XIX Siécle. 


16—KipweLiy CastTLe 
(Harrington, No. 25; Drake, No. 23) 
Signed artist’s proof on Verger paper.  Inter- 
mediate trial proof “C” with the print cut along the 
lines three-eighths of an inch from upper and lower 
margins of the plate. 


— 

a 

\ 
5 


— 


“Done from the railway station while waiting for the 
train.”’—Srymour Haven. 

“This little study is etched in the style of certain pieces 
by Rembrandt; the firm lines, lightly spaced, cross 
themselves, forming planes by parallel masses.”— 
Puiuipre Burry, L’Geuvore de M. Francis Seymour 
Haden. 


17—Kensincron Garpens (The Large Plate) 
(Harrington, No. 28; Drake, No. 26) 
Signed artist’s proof on Verger paper. First state 
before added dry-point touches on one of the depend- 
ent branches to the right and on the foliage above it. 


“This study is one of the most accomplished of all 
of M. Haden’s work.’—Puitirre Burry, L’Quvre 
de M. Francis Seymour Haden. 


18—Srtems (A Study) 
(Harrington, No. 29; Drake, No. 27) 
Signed artist’s proof on Whatman paper. Called by 
the artist “A study in anatomy.” 


19—ComseE Bottom 
(Harrington, No. 32; Drake, No. 29) 
Signed artist’s proof on old English paper. Inter- 
mediate trial proof “GG” with the signature, the 
shadows of the rabbits, and all the middle distance 
obliquely across the plate, removed. 


“The little piece is a jewel; it has a most rare charm. 
It is very scarce, and we advise the collector who 
comes upon it not to let it escape him.”—Gusrave 
Bourcarp, A Travers Cing Siécles de Gravures, p. 


446. 


20—ComseE Bortrom 
(Harrington, No. 32; Drake, No. 29) 
Artist’s proof on Whatman paper. First state with 
the signature and with shadow of rabbits. 
“Combe Bottom is unsurpassed for sweetness and 
spontaneity.”—Freperick Wepmorr, Etching in 
England, p. 61. 


21—Tue Horry Fievp 
(Harrington, No. 33; Drake, No. 30) 
Signed artist’s proof on Verger paper. First state 
before added dry-point in blank space in upper right 


margin. 


22—SHERE Mitzi Ponp (A Small Study) 
(Harrington, No. 37; Drake, No. 34) 
Artist’s proof on Verger paper. 


23—SuHeRE Mitt Ponp (The Larger Plate) 
(Harrington, No. 38; Drake, No. 35) 


Artist’s proof on Verger paper. First state with the 
work in the sky. 


“With the single exception of one plate, by Claude, 
this is the finest etching of a landscape subject which 
has ever been executed in the world.”—P. G. Ham- 
ERTON, Etching and Etchers, p. 305. 


24—SnHere Mitt Ponp (The Larger Plate) 
(Harrington, No. 38; Drake, No. 35) 


Signed artist’s proof on Whatman paper. Second state 
with sky removed. 


“This piece, which is becoming rarer every day, is as 
celebrated as the most famous Rembrandt.”—GusTaveE 
Bourcarp, A Travers Cinq Siécles de Gravures, p. 
446. 

(Illustrated) 


25—-AMSTELODAMUM 
(Harrington, No. 43; Drake, No. 37) 
Signed artist’s proof on Dutch paper. First state 
before additional work in water and sky. . 


anog TIN GUIHS ‘Po “ON 


pen pre NN 


SES 


26—Cranprook (Harrington, No. 46; Drake, No. 39) 
Signed artist’s proof on Whatman paper. 


27—Dunprum River 
(Harrington, No. 49; Drake, No. 42) 
Signed artist’s proof on Holland paper. Intermedi- 
ate state before the title, “A River’s Bank,” was 
placed at foot of plate. 
Dundrum River and The Two Asses were originally 
one plate. 


28—TuHeE Two AsseEs ‘ 
(Harrington, No. 50; Drake, No. 43) 
Signed artist’s proof on Verger paper. First state 
with clear foreground. 


“Dr. Harrington gives an explanation that would 
partly have satisfied Goulding as to the destination of 
some of these prints. ‘Some impressions of T'he Two 
Asses have affixed a penny Inland Revenue stamp, the 
etching having been presented by the artist, as a form 
of receipt, to some of the subscribers to the “Etudes 
a ’Kau-forte,’—a most unhappy choice of subject for 
the purpose: or was it a sly piece of humor on the 
part of the artist?’ The latter conjecture is right. 
Mr. Seymour Haden, Jr., tells me that later in his life 
his father was in the habit of presenting impressions 
of this plate to engaged couples.”—Martimn Harpte, 
Frederick Goulding, Master Printer, p. 58. 


29—A SunseT In ]RELAND 
(Harrington, No. 51; Drake, No. 44) 


Signed artist’s proof on Holland paper. 
“This plate, and also 4 By-Road in Tipperary, were 


~ eee are 


GNVIduy. NI LASNOG VY ‘66 ‘ON 


Sy inteaah Sonia teliet aaah esta: 


\vpa \ vartwlae 


done in the park of Viscount Hawarden, in the most 
beautiful part of Tipperary.”—Srymour Haven. 


“A Sunset in Ireland is Haden’s best work in dry-point 
and it certainly deserves its reputation of one of its 
author’s masterpieces. The quiet, peaceful sunset be- 
hind the dark masses of trees makes a plate of ex- 
quisite beauty. There are great differences in the 
various states, so that a choice among them is ex- 
tremely difficult. The rich, dark, late-evening effect of 
the second state is quite as fine in its way as the 
lighter and more delicate early-evening effect of the 
earlier impressions.” —ATHERTON CuRTIs. 


(Illustrated) 


30—BatrEeRsEA REeacu 
(Harrington, No. 52; Drake, No. 45) 
Artist’s proof on Verger paper. First state before the 
wherries in midstream and the signboard in front were 
removed. 


“Gives a sense of space and air. . . . Mr. Haden’s 
love for large white spaces was never more strikingly 
manifested than in the published states of this etch- 
ing.’—P. G. Hamertron, Etching and Etchers, p. 
307. 


31—BatTrerseaA REACH 


(Harrington, No. 52; Drake, No. 45) 4a 

Signed artist’s proof on Japan paper. Second state 
with two monkeys on the wall. ; 
: 


32—-NEAR THE GRANDE CHARTREUSE 
(Harrington, No. 56; Drake, No. 49) 
Signed artist’s proof on Holland paper. ‘This was 
etched after a drawing by Turner. 


33—TuHomas Hapren or Dersy 
(Harrington, No. 58; Drake, No. 51) 
Signed artist’s proof on Verger paper. 


“Thomas Haden of Derby, my grandfather, was, 
under a polished exterior, one of the most determined 
men I have ever known and one of the bravest. He 
would have made a hero of romance if he had had the 
chance. At the age of eighty-five he defended the 
house against the whole mob of Derby, keeping them 
at bay all night.”—Srymovr Hapen. 


34—Portrair or Francis Seymour Hapren (Number 
Three) (Harrington, No. 61; Drake, No. 54) 
Signed artist’s proof on Whatman paper. 


35—NEWCASTLE IN EMLYN 
(Harrington, No. 62; Drake, No. 55) 
Signed artist’s proof on Verger paper. 


“It is a very interesting little piece engraved in the 
manner of a free sketch, very attractive in its sim- 
plicity.” — Gustave Bovrcarp, A Travers Cinq 
Siécles de Gravures, p. 449. 


36—Hovwse or THE SMITH 
(Harrington, No. 63; Drake, No. 56) 
Signed artist’s proof on Verger paper. First state 
before the removal of the large flat stone in the fore- 
ground. 


“This may be taken as fairly representative of Mr. 
Haden’s sketches on copper.”—P. G. Hamerron, 
Etching and Etchers, p. 306. 


37—KENARTH (Harrington, No. 64; Drake, No. 57) 
Signed artist’s proof on Verger paper. 


38—KILGAREN CASTLE 
(Harrington, No. 65; Drake, No. 58) 
Signed artist’s proof on Verger paper. 


“Engraved in the same manner as that of Newcastle 
in Emlyn. It is perhaps even more remarkable in its 
marvelous synthesis: the lines apparently are all aim- 
less, yet they form a‘finished picture! The powerful 
pencil of a powerful artist is manifest.”—GusTave 
Bourcarp, A Travers Cing Siécles de Gravures. 


39—Carpvican Brince 
(Harrington, No. 67; Drake, No. 60) 
Signed artist’s proof on Verger paper. First state e 
with fewer lines in water in lower left corner. 
The five Welsh plates were all etched on one day, 
August 17th, 1864. 


40—Tue FisHerMEeNn 
(Harrington, No. 69; Drake, No. 61) 
Signed artist’s proof on Whatman paper. Trial proof 
“A” before the lower part of the man and the fore- 
ground to the right were etched in. 


41—Prnton Hoox 

(Harrington, No. 70; Drake, No. 62) 
Signed artist’s proof on Japan paper. Trial proof 
“B” with additional working on the tree. 
“Penton Hook, which is one of many wrought in 1864, 
is another instance—and we have had several already 
—of the artist’s singular power in the suggestion of 
tree form. Of actual leafage, leafage in detail, he is a 


less successful interpreter, as is, indeed, only natural 
in an etcher devoted on the whole to broad effects, 
looking resolutely at the ensemble. Detail is nothing 
to him—ensemble, balance, is all. But the features of 
trees, as growth of trunk and bend of bough reveal 
them, he gives us as no other contemporary etcher 
can.”—Freperick Wepmore, Four Masters of Etch- 
ing. -) 


42—Tue Lovers’ Wark 
(Harrington, No. 72; Drake Supplement, No. 190) 


Signed artist’s proof on Holland paper. ‘Trial proof 
**A” with much bur in the trees to the left. 


43—Tuames Ditton, wirH A SAIL 
(Harrington, No. 73; Drake, No. 64) 


Signed artist’s proof on Japan paper. First state 
with hull of the boat and two men in it, put in in 
dry-point, and before the plate was reduced in size. 
About fifteen impressions. 


44—_Rattway ENcROACHMENT 
(Harrington, No. 74; Drake, No. 65) 


Signed artist’s proof on Verger paper. 
45—BRENTFORD FERRY 
(Harrington, No. 75; Drake, No. 66) 
Signed artist’s proof on Verger paper. 
46—Tue Towne Patu 
(Harrington, No. 76; Drake, No. 67) 
Signed artist’s proof on Verger paper. Second state 
with the figure of the lady, and with “The Towing 
Path” to the right, and “Hampton Court,” partially 
removed. 


“Mr. Haden always thought this one of his best plates 
—an opinion, however, in which he has stood, he is 


bound to say, pretty much alone. Whether it is the 
lady or the dog he knows not, but it has never been 
a favorite.’—Srymour Hapen. 


4'7— EVENING (Harrington, No. 77; Drake, No. 68) 
Signed artist’s proof on Japan paper. 


“The poet of peaceful rivers.”—Puittere Burry. 


48—SuHEPPERTON (Harrington, No. 80; Drake, No. 71) 
Signed artist’s proof on Verger paper. 


“Shepperton . . . is a typical example of his 
simple manner of rendering nature, with one thor- 
oughly characteristic note in the play of shadows on 
the water, showing the magical effect of his line with 
all its apparent unconsciousness of aim.”—A. M. 
Hinp, A Short History of Engraving and Etching, 
p- 328. 


49—Kew Sipe (Harrington, No. 82; Drake, No. 73) 
Signed artist’s proof on Japan paper. 


50—Kew Arr (Harrington, No. 86; Drake, No. 77) 
Signed artist’s proof on Verger paper. 
“Kew Side and Kew Ait were done during a stay of a 
day or two at the house of Mr. Charles A. Cole.”— 
Seymour Hapen. 


51—Croauis 1n Burty’s GarDEN 
(Harrington, No. 88; Drake, No. 79) 
Artist’s proof on old French paper. An impromptu 
sketch to show Mr. Burty how to suggest, in etching, 
the direction of the growth of the bark of a tree. 
‘Twelve impressions printed. 


SUNVH |, HHL NO LaSNNG “EG ‘ON 


52—‘GriFF” (Harrington, No. 89; Drake, No. 80) 
Signed artist’s proof on Verger paper. Trial proof 
“A” with full inscription, “Kew, June 5, 1864,” and 
without dry-point. A portrait of Mr. Charles A. Cole. 


53—SUNSET ON THE THAMES 
(Harrington, No. 93; Drake, No. 83) 
Signed artist’s proof on Verger paper. First state 
before the interval between the two rays to the left 
was filled in by new work. 


“The first state is the best and is now very rare.”— 
Seymour Haven. 


“The effect of light is given with such magnificent 
force that the whole sky flames.”—P. G. Hamerton, 
Etching and Etchers, p. 301. 
“He can show us with a few well-placed strokes a 
splendid, radiant sunset, as in the Sunset on‘ the 
Thames, or a glistening sunrise dispelling the morn- 
ing mists, as in his Early Morning, Richmond.”— 
ATHERTON CurRTIS. 
(Illustrated) 


54—Hanps Ercuinc—O Lazorum 
(Harrington, No. 94; Drake, No. 84) 
Signed artist’s proof on Japan paper. Second state, 
with shaded subject on plate and before plate was 
reduced in size. 


55—Hanps Foupep (Harrington, No. 97; Drake, No. 86) 
Signed artist’s proof on English paper. 


56—LirtLte Carais Pier 
(Harrington, No. 98; Drake, No. 87) 
Signed artist’s proof on Dutch paper. First state 
before the figure seated at the end of the pier. Done 


from the deck of the Dover-Calais boat at three in the 
morning. 


57—Horstey’s House at WILiEsLey 
(Harrington, No. 99; Drake, No. 88) 
Signed artist’s proof on Whatman paper. 


58—Horstey’s Roor 
(Harrington, No. 100; Drake, No. 89) 


Signed artist’s proof on Verger paper. 


59—Horstey’s CotTraces 
(Harrington, No. 101; Drake, No. 90) 


Signed artist’s proof on Verger paper. First state 
before added dry-point on trees to the right. 


60—O.p WittEestey House 
(Harrington, No. 102; Drake, No. 91) 


Signed artist’s proof on Holland paper. 


61—“Purr’—Doce AsLEEP ON A CHAIR 
(Harrington, No. 105; Drake, No. 94) 


Signed artist’s proof on Verger paper. “Puff” was a 
dog belonging to Mr. Charles A. Cole. 


62—TwickenHAM CHURCH 
(Harrington, No. 107; Drake, No. 95) 
Proof on Holland paper. 


63—TwickENHAM BusHeEs 
(Harrington, No. 108; Drake, No. 96) 


Signed artist’s proof on French paper. 


64—Tue AssiGNATION 
(Harrington, No. 109; Drake, No. 97) 


Signed artist’s proof on Verger paper. 


65—O.p CHELSEA CHURCH 
(Harrington, No. 110; Drake, No. 99) 


Signed artist’s proof on Verger paper. 


66—Yacutr Tavern, Eriru 
(Harrington, No. 112; Drake, No. 101) 


Proof on Holland paper. 


67—Eriruy MarsHes 
(Harrington, No. 113; Drake, No. 102) 
Signed artist’s proof on Whatman paper. First state 
before the sky was cleaned. This plate and No. 112 
were etched when in company of Daubigny, the painter 
and etcher. ; 


68—Tue Moar Hovse 
(Harrington, No. 114; Drake, No. 103) 


Proof on English paper. 

“The house in this plate is really old Willesley House 
(see Old Willesley House, No. 60), the plate being 
only begun, and a suitable foreground being found for 
it at Sonning in Berkshire, it was finished there.”— 
Seymour Hapen. 


69—Sonnine Bank 
(Harrington, No. 116; Drake, No. 105) 


Proof on Verger paper. 


I DE 


70—Harry Kettzy’s, Purnrey 
(Harrington, No. 117; Drake, No. 107) 
Signed artist’s proof on Verger paper. Fine early im- 
pression, with the reflection of the smaller flagpole still 
visible. 


71—Tue Featruers Tavern 
(Harrington, No. 118; Drake, No. 108) 
Signed artist’s proof on Holland paper. First state 
before plate was reduced in size. 


‘ 72—THameEs SIDE 


(Harrington, No. 119; Drake, No. 109) 
Signed artist’s proof on Verger paper. Nos. 118 and 
119 originally formed one plate, measuring 914 by 6 
inches. 


73—A CasTLE, County WickLow 


(Harrington, No. 121; Drake, No. 110) 
Signed artist’s proof on Verger paper. 
“This is the castle of the late Mr. Howard Brooks.” 
—Srymovur Hapen. 


74—Barxk REeEFITrinc 


(Harrington, No. 124; Drake, No. 112) 


Signed artist’s proof on English paper. Trial proof 
“B” before the removal of trees, sailing boats, and 
other work to the left. 


75—Firs (A Study) 
(Harrington, No. 126; Drake, No. 113) 


Signed artist’s proof on Whatman paper. 


76—Mouvnvt’s Bay 
(Harrington, No. 127; Drake, No. 114) 
Signed artist’s proof on Japan paper. 
“This was the first plate etched wholly in the bath.” 
—Srymour Haven. 


77—Tue Herp (Harrington, No. 128; Drake, No. 115) 
Proof on Whatman paper. 


“This plate at the instance of Mr. Burty was given to 
illustrate a rubbishing book entitled ‘Sonnets et Kaux- 
fortes’ on the understanding that twenty-five impres- 
sions from the plate should be given to me before it 
was destroyed. It has therefore become a very rare 
plate. Moreover, the printing of the impressions in 
this book is bad. So that a good impression is still 
rare.’—SrymMour Haven. 


78—Tue Turkish Batu with Two Ficurss - 
(Harrington, No. 183; Drake, No. 118) 
Signed artist’s proof on old English paper. 


79—Tue Tourktsu Batu with One Ficure 
(Harrington, No. 134; Drake, No. 119) 
Signed artist’s proof on old English paper. 
“Though called The Turkish Bath, this, and No. 133, 


are really studies of shampooers.”—Srymour Haven. 


80—Barrersea Briper i 
(Harrington, No. 1386; Drake, No. 120) 
Proof on Holland paper. First state with shading on 
uppermost cloud to the left and the circular reflection | 
of the moon. 


81—TuHe Istanp Opposirrt Boyur’s Farm 
(Harrington, No. 138; Drake, No. 121) 
Signed artist’s proof on Verger paper. 


82—THeE Inn, PURFLEET 
(Harrington, No. 189; Drake, No. 122) 
Signed artist’s proof on Holland paper. First state, 
with “Purfleet”’ added to the left, and on the right, 
following “1869,” “Seym™ Haden ft.” 


“A very fair rendering of the Thames below London.” 
—Srymovur Haven. 


83—Tue Inn, PuRFLEET 
(Harrington, No. 139; Drake, No. 122) 
Signed artist’s proof on English paper. Second state 
with the sitting figures to the right, now standing up. 


“A good example of his simple, direct way of hand- 
ling sky and water.”—-ATHERTON CuRTIS. 


84—OpposiTE THE InN, PURFLEET 
(Harrington, No. 140; Drake, No. 123) 
Proof on Holland paper. 


85—Lupitow Caste 
(Harrington, No. 142; Drake, No. 125) 
Proof on Verger paper. 


86—WuitTrieLp YEW 
(Harrington, No. 143; Drake, No. 126) 
Signed artist’s proof on Arnold paper. 


87—Tue Two SHEEP 
(Harrington, No. 144; Drake, No. 127) 
Signed artist’s proof on Japan paper. ‘Trial proof 
“C” before the rabbit, the signature and the date were 
removed. 


88—Breakine Up or THE “AGAMEMNON” 
(Harrington, No. 145; Drake, No. 128) 
Signed artist’s proof on Whatman paper. First state 
with a smoking chimney, a brig under sail, and other 
work in the distance beneath the bow of the boat. 


“With such a subject as this for a motive, an etcher 
will do manly work if the strength to do it is in him. 
And this is manly work.”—P. G. Hamerton, Etching 
and Etchers, p. 310. 

“Perhaps, all things considered, the artist’s master- 
piece.”— ATHERTON CURTIS. 


89—Irriey Mrut (Harrington, No. 146; Drake, No. 129) 
Signed artist’s proof on Verger paper. 


90—A Bric ar AncHOR 
(Harrington, No. 147; Drake, No. 130) 
Signed artist’s proof on Van Gelder paper. ‘Trial 
proof “A” with the white sail of the barge, and be- 
fore additional work in the waves. 


“The trial proofs with the white sail, and twenty-five 
of the published state with the dark sail, signed by 
me and taken before the plate was given to the ‘Port- 
folio,’ are alone good.”—Srymour Hanpen. 


91—Sawiey ABBEY 
(Harrington, No. 148; Drake, No. 131) 
Signed artist’s proof on Holland paper. Trial proof 


“D” with bare foreground. 


92—-SawiEy ABBEY 


(Harrington, No. 148; Drake, No. 131) 
Proof on Holland paper. 


“Yet, as time went on, there came, no doubt, an in- 
creasing love of the sense of spaciousness, of breadth, 
and of potent effect. The work was apt to become 
more dramatic and more moving. ‘The hand asked the 
opportunity for the fuller exercise of its freedom. 
Sawley Abbey, etched in 1878, is an instance of this, 
and I am glad to mention it, not alone for its merit, 
but because, like a certain number of its fellows among 
the later work, it is etched on zinc—a risky substance, 
which succeeds admirably when it succeeds, and when it 
fails, as Sir Seymour tells me, fails very much.”— 
Freperick Wepmore, Etching in England, p. 58. 


93—By InvERORAN 


94— 


(Harrington, No. 149; Drake, No. 132) 
Signed artist’s proof on Whatman paper. 


Scotcu Firs, InvERoRAN 

(Harrington, No. 150; Drake, No. 133) 
Proof on Holland paper. Trial proof ‘‘A” before the 
mountain was removed. 


Scotcu Firs, INvERORAN 

(Harrington, No. 150; Drake, No. 133) 
Signed artist’s proof on Holland paper. First state 
after the mountain top was removed. 
The two Inveroran plates were executed in strong out- 
line to serve as a basis for mezzotint, somewhat in the 
manner of the Liber Studiorum plates. 


96—Tue Amstet (A Memorandum) 
(Harrington, No. 151; Drake, No. 134) 


Signed artist’s proof on Verger paper. Etched from 
an upper window of the Amstel Hotel at Amsterdam. 


97—Tue MILLwWHEEL 
(Harrington, No. 153; Drake, No. 136) 
Signed artist’s proof on Holland paper. 


98—An Essex Farm 
(Harrington, No. 155; Drake, No. 138) 
Proof on Holland paper. 


“TY like this plate and think it is one of the best and 
most masculine of my works.”—Srymour Hapen. 
“T am sending you the Essex Farm plate, to be tried 
on the same paper as the Agamemnon. . . . Kindly 
see to it, and let me have a proof or two that I may 
choose one of them as a bon a tirer. It is a favorite 
plate on account of the distance and I should be sorry 
to lose it.”—A letter of Seymour Haden’s to his 
printer, Goulding. From Martin Hardie’s Frederick 
Goulding, Master Printer. 


99—TuHeE Boat-HoUsE 
(Harrington, No. 156; Drake, No. 139) 
Signed artist’s proof on Holland paper. First state 
before the plate was again reduced in size, and with 


the duck’s head and breast in the foreground to the 
right. 


“The plate was done at Purfleet, a place to which I 
often resort for an afternoon of fresh semi-sea air. 
On no occasion that I recollect have I ever been there 
without seeing the white horse which appears in the 


No. 104. Wrxpmirt Hitt Numser Two 


etching, and which I understand is an old pensioner 
of Mr. Whitebread’s, who lives hard by.”—-Szymour 
Haven. 


100—Hanp Paintine 
(Harrington, No. 159; Drake, No. 142) 


Signed artist’s proof on Verger paper. 


101—Hawnps Dry-pointTIne 
(Harrington, No. 160; Drake, No. 143) 


Signed artist’s proof on Dutch paper. 


102—WIncHELSEA CANAL 

(Harrington, No. 161; Drake, No. 144) 
Signed artist’s proof on Holland paper. Very rare 
intermediate trial proof before the first state with a 
reflection in the water of the clump of trees to the 
right of the moon, and minor variations in clouds 
above the moon. Mentioned by Harrington as “Two 
or three trial proofs before the final effect was 
reached.” 
“Winchelsea is an old English town, once on the sea, 
but now three miles from it. The canal is little more 
than a ditch, but the whole region is singular, and sug- 
gestive of a time long gone by.”—Srtymour Hapen. 


103—Winpmitt Hiri No. 1 

(Harrington, No. 163; Drake, No. 146) 
Signed artist’s proof on Verger paper. 
“Windmill Hill is a high common, near Swanage, which 
has long served as a landmark for vessels at sea. ‘This 
and all the following plates, up to the “Little Boat 
House” were all done within a fortnight in the imme- 
diate neighborhood of Swanage in Dorsetshire.”— 
Seymour Hapen. 


104—WinpmitL Hitt No. 2 
(Harrington, No. 164; Drake, No. 147) 
Signed artist’s proof on Verger paper. 
“T like this plate.”—S. H. 


“105—Winvmitt Hit No. 3 

(Harrington, No. 165; Drake, No. 148) 
Signed artist’s proof on Verger paper. 
“This and the two preceding plates were done on the 
same day.”—SrymMour Hapven. 


106—Yer CompLeat ANGLER 
(Harrington, No. 166; Drake, No. 149) 
Signed artist’s proof on Verger paper. 


107—NinE Barrow Down 

(Harrington, No. 167; Drake, No. 150) 
Signed artist’s proof on Verger paper. 
“The Dorsetshire etchings, Windmill Hill, Nine Bar- 
row Down, and the like, are most of them dry-points. 
In them, though the treatment of delicate distances is 
not evaded, there is especial opportunity for strong 
and broad effects of light and shade. Perhaps it is to 
these that a man travels as his work continues, and 
as, in continuing, it develops. At least it may be so 
“in landscape.”—Freperick Wepmore, Pour Masters 


of Etching, p. 11. 


108—Tue Keer (Harrington, No. 168; Drake, No. 151) 
Signed artist’s proof on Verger paper. 


109—Tue Suuvice (Harrington, No. 169; Drake, No. 152) 
Signed artist’s proof on Holland paper. 


110—Tue Cast (Harrington, No. 170; Drake, No. 153) 
Signed artist’s proof on Holland paper. 


111—Tue Castie Brivce 
(Harrington, No. 172; Drake, No. 155) 
Signed artist’s proof on Verger paper. Done at Corfe 
Castle. 


112—Swanace Bay . 
(Harrington, No. 173; Drake, No. 156) 
Signed artist’s proof on Whatman paper. 


“A ver ood little plate in my opinion.’’—Srymour 
yes p y op 
Haven. / 


1183—NeEwtTon Manor 
(Harrington, No. 174; Drake, No. 157) 
Signed artist’s proof on Holland paper. 


114—Cuattow Farm 
(Harrington, No. 175; Drake, No. 158) 
Signed artist’s proof on Whatman paper. 


“Challow Farm: I have no proof. Last six over 
stumped—not sharp enough. ‘This absence of sharp- 
ness is a common fault in the printing of dry-points. 
The proof should show the quantity of ink honestly 
carried by the line, else it does not look like bur and 
betrays the stump.”—Letter of Haden to his printer, 
Goulding. From Martin Hardie’s Frederick Goulding, 
Master Printer, p. 62. 


115—Warenam Brivce 
(Harrington, No. 176; Drake, No. 159) 
Signed artist’s proof on French paper. Trial proof 
“D” before the horses in the foreground were shaded 
and weeds to their right removed. 


116—Tue Lirrite Boat-Hovuse 
(Harrington, No. 177; Drake, No. 160) 
Signed artist’s proof on French paper. First state 
with the foreground to the right entirely bare. 


117—Tue Litrtrre Boat-novuse 
(Harrington, No. 177; Drake, No. 160) 
Signed artist’s proof on Verger paper. Second state 
before the boat and oar in the foreground were par- 
tially erased. 


118—A BacxwarTer 
(Harrington, No. 178; Drake, No. 161) 
Proof on Holland paper. Trial proof ‘“C’ before the 
addition of the three ducks in the foreground. 


119—Sxketcu at THE Back or a Zinc PLatTe 
(Harrington, No. 179; Drake, No. 162) 


Signed artist’s proof on French paper. 


120—Tue Turee Cows 
(Harrington, No. 180; Drake, No. 163) 
Signed artist’s proof on Holland paper. 


121—Tue Wixtows 
(Harrington, No. 181: Drake, No. 164) 
Signed artist’s proof on Verger paper. Trial proof 
“A” before the two small tree trunks in upper left 
corner reach the upper plate mark. 


122—-Tuer WILLows 


(Harrington, No. 181; Drake, No. 


164) 


Signed artist’s proof on Holland paper. First state 
before the added tree trunk and brushwood hide the 


path to the left. 


123—Dustry MiItuers 


(Harrington, No. 182; Drake, No. 


Signed artist’s proof on Japan paper. First 


before the man at the stile carries a fishing rod. 


124— Barpet FisHine 


(Harrington, No. 183; Drake, No. 


Signed artist’s proof on Whatman paper. 


125—Tue VICARAGE 


(Harrington, No. 184; Drake, No. 


165) 


state 
166) 


167) 


Signed artist’s proof on French paper. This plate 
and Barbel Fishing originally formed one plate and 


was done at Sonning in Berkshire. 


126—Grim Spain 


(Harrington, No. 186; Drake, No. 


168) 


Signed artist’s proof on Japan paper. The town and 


walls of Burgos. 


127—Tuer Fountain, Cintra 


(Harrington, No. 188; Drake, No. 


169) 


Signed artist’s proof on Verger paper. Trial proof 


66199 


middle distance partly indicated in outline. 


with sky and strip of plate to the right bare and 


“This fountain stands at the entrance to the palace 
of Monserrat, which was built originally by Beckford, 
and in which Byron wrote ‘Childe Harold.’ It over- 


looks the lines of Torres Vedras—the whole extent of 
which may be seen from the windows.”—Srymour 
Hapen. 


128—Tue Trrrace, Cintra 
(Harrington, No. 193; Drake, No. 178) 
Proof on Verger paper. 


129—OutsmE THE Cork Convent, CrnTRA 
(Harrington, No. 194; Drake, No. 174) 
Signed artist’s proof on Whatman paper. 


130 


InsipE Cork Convent, CINTRA 
(Harrington, No. 195; Drake, No. 175) 
Signed artist’s proof on Verger paper. 


131—Tue House By THE Sra 
(Harrington, No. 200; Drake, No. 176) 
Signed artist’s proof on French paper. Drawn and 
etched and printed during a lecture at the Royal In- 
stitution to illustrate the ordinary or “interrupted” 
method of etching. 


1382—Tue AmsTEL 
(Harrington, No. 201; Drake, No. 177) 
Signed artist’s proof on Holland paper. Done during 
a lecture at the Royal Institution to illustrate the 
“continuous” method of etching suggested by Sey- 
mour Haden. 


183—Tue Hepcrrow 
(Harrington, No. 203; Drake, No. 178) 
Signed artist’s proof on Dutch paper. Done during 
a lecture at the Royal Institution to illustrate the 
process of “dry-pointing.” 


134—TueEe TuRRET 
(Harrington, No. 204; Drake, No. 179) 
Signed artist’s proof on Dutch paper. Plate im- 
provised to illustrate etching on zinc by the “con- 
tinuous” process. 


1385—Turee Tree Farm 
(Harrington, No. 206; Drake, No. 181) 
Signed artist’s proof on French paper. Impromptu 
sketch to illustrate a lecture on the “continuous” 
method of etching. 


136—Hartiecu (A Second Plate) 
(Harrington, No. 212; Drake supplement, No. 207) 
Signed artist’s proof on Holland paper. 


137—Tue Mrintster’s Horse 
(Harrington, No. 214; Drake supplement, No. 209) 


Signed artist’s proof on Holland paper. Very few 
impressions printed. 


138—TueE Vituace Forp 
(Harrington, No. 216; Drake supplement, No. 211) 


Signed artist’s proof on Whatman paper. First state 
before the clouds in the sky and the man with ladder 
by the haystack. 


189—Encomsre Woops (Number Two) 
(Harrington, No. 219; Drake supplement, No, 213) 
Signed artist’s proof on Holland paper. 


140—Cowpray CasTLe witH Cows 
(Harrington, No. 220; Drake supplement, No. 215) 
Signed artist’s proof on Dutch paper. 


141—Cownray CastLe witH GrEsE 
(Harrington, No. 221; Drake supplement, No. 216) 


Signed artist’s proof on French paper. 


142—Tue THREE CALves 
(Harrington, No. 222; Drake supplement, No. 217) 


Signed artist’s proof on Dutch paper. 


143—Tue Four Cows 

(Harrington, No. 223; Drake supplement, No. 218) 
Signed artist’s proof on Dutch paper. 

“Tirage of Four Cows and Three Calves really quite 
perfect, and in harmony with all my views and require- 
ments! This ought to encourage the reasonable side 
of you.”—Letter from Haden to his printer, Goulding. 
From Martin Hardie’s Frederick Goulding, Master 
Printer, p. 64. 


144—Tue Twins—Sarah and Anne Haden (No. 2) 
(Harrington, No. 228; Drake supplement, No. 222) 


Signed artist’s proof on Dutch paper. Trial proof 
“A” before the shading behind the shoulders on both 
sides of the plate. 


AMERICAN ART ASSOCIATION, 


MANAGERS. 


THOMAS E. KIRBY, 


AUCTIONEER. 


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